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Malloy 26 addressing the challenges of a communication gaps (having to read backwards, for example, or not having the exact word you are looking for). Thus, the challenge is enticing enough to draw them in; simple enough to finish in a few minutes; big enough to involve several people if they choose; and perfect in placement, transparency, and scale to lead them into the next space of my exhibit. Their reward is a feeling of achievement, mastery, and perhaps a new friendship through the experience. The materials of this experiment reflect process; cardboard and building materials echo a comfortably unpolished result, as if we have just begun our work. The impermanence and flexibility of the structure means it will continue to evolve during the life of the exhibition. Likewise, communication and brand are not static. I chose to use several different typefaces, ranging in historical significance, in the word collection. I was careful not to set the words in type intentionally, so as to leave meaning more ambiguous. Type reflects voice, tone, and inference. I chose a variety of typefaces because this experiment is not my voice, it is the voice of the participants. As participants peer through the window, they cannot help but notice the next experiment. At forty-eight inches long, standing at hip height, and glowing in the unlit room opposite the window, the second experiment is hard to miss (fig. 4, 5). This piece, Interactive Light I: On Perception, plays on narrative/database and perceptions theories, looking specifically at the role of control and interactivity in the designer/user experience. The text is only visible when the participant pulls out or removes the wooden pole below the acrylic panels. Each message etched into one of the 24 sheets was selected from my friends’ Facebook statuses or comments. The pieces begin to make a narrative, though in reality they are completely unrelated, and the user can move pieces, lighten them, or darken them. Physically, your eyes can only focus on a certain number of panels at a time, so your vision shifts between them, just as our minds shift between content and memories. The collective voices from the statements are reflected anew to the

Profile for Renee Malloy

Adaptive Design for Visual Communicators:Reexamining Relationships and Making Theory Apply  

Adaptive Design for Visual Communicators:Reexamining Relationships and Making Theory Apply is my MFA thesis paper. Please enjoy.

Adaptive Design for Visual Communicators:Reexamining Relationships and Making Theory Apply  

Adaptive Design for Visual Communicators:Reexamining Relationships and Making Theory Apply is my MFA thesis paper. Please enjoy.

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